What is the relationship between “I” and “the others”, and what would change if you could define the rules of the game at will? David Schalko’s absurd satire explores these questions with razor-sharp dialogue and a delight in escalation.

1983年，年仅36岁的日本摄影家牛腸茂雄病逝，作为其好友的纪录片导演佐藤真拍摄了这部纪念影片，用真挚的情感回顾了摄影家的一生，影片几乎没有对白，镜头静静地从牛腸茂雄的故居摆设回到他的摄影作品上。。。 http://ja.wikipedia.org/wiki/%E7%89%9B%E8%85%B8%E8%8C%82%E9%9B%84 In 1983, photographer Gocho Shigeo met an early death at the young age of 36. The view we see reflected in Gocho’s photographic images has become more profound over time since his death and has struck a chord in people’s hearts. While focusing on Gocho’s collection of photographs Self and Others, the film also visits places associated with him, creating a collage with the manuscripts, letters, photographs and voice recordings remaining in an attempt to capture “one more gesture”—a theme pursued by Gocho through photographic expression. This film is neither a critical biography nor a monograph on the photographer. Rather, we are offered a new perception. As if mesmerized, the photographs Gocho left behind captivate us in their gaze.

1952年，一趟前往奥斯陆的火车旅程成了一场战场——一位记者和她的丈夫与一名声称二战期间拯救了数千人的男子对峙。当关于他真实动机的疑问浮现时，英雄与机会主义者之间的界限变得模糊。

外面，第一缕阳光破晓，16岁的卡塔琳娜睡不着。矛盾的是在城市里，成年人被欲望所驱动…卡塔琳娜发现她感染了艾滋病毒。她想把其他人都牵扯进去。

赵晨欣为“真爱”悔婚，抛弃未婚夫任永。任永冷静应允，转头却在董事会上强势撤资，抽离赵氏核心投资。资金链断裂、股价暴跌接踵而至，渣男郭耀光也原形毕露。赵晨欣幡然醒悟，自己毁掉的不是婚约，而是整个赵氏。最终，她只能眼睁睁看着任永收购赵氏，为任性买单。

Nina (Isabell Gerschke) has made a career at an advertising agency, her husband Sebastian as an attorney. But their marriage is not perfect anymore despite all efforts. In the agency, Nina is currently working with a dating service.

A must see, this documentary (not be confused with the much longer and comprehensive 2004 biopic) brings us Saïd's last days, prior to his untimely death in 2003. In a twist of fate, a French crew armed with a Betamax recorder spent time with him and his family at the end of his life, offering us an exceptionally intimate look at his (literally) final views and reflections on the themes which dominated his life's work. Based on the ratings and number of votes I saw on this site for the 2004 documentary, I think many users voted for that film, though meaning to judge and actually having seen this one, which continues to have more exposure in the Americas, in the Third World, and most importantly politics aside (as much as that's possible). Both films deserve the excellent rating they boast. Your rating really depends on your interest and attention span. However, this film, at a captivating 54 minutes and with its unique timing has a touch of reality and conciseness that the other one lacks, by mere timeliness and authenticity. This film directed by Emmanuel Hamon has also enjoyed the personal and forceful promotion by him himself, the director, and by the Institute of Arab Culture, throughout Brazil, at least, where I have now accompanied its showing at, two or three more festivals here in less than 9 months. And, NOT just at another Arab Film Festival, or a usual semi annual showing of national performing arts, but a full fledge Mediterranean Festival of dance, music, theater, literature, gastronomy, fashion, children's activities, etc. at over 60 cities and towns in Southeastern Brazil alone. The Israeli Festival, coincidentally, also with excellent films, in much richer if not opulent venues, with Rubin Mehta and Israel Orchestra's, just as a by-the-way factoid, just ended days ago. It was however mostly funded by Jewish and Israeli group, while this one is funded primarily by the Business and Educational Council. The timing was not planned to compete with each other. The various "Mediterranean" groups were on tour throughout the area just now. The "Jewish week" is always around this time, and wa1s planned for months. Yes, Sao Paulo (city) alone is a metropolis of 20 million alone - the state has 40 million, with one of the heaviest and maybe the best succeeded Arab & Syriain-Lebanese immigrant communities anywhere in the world. But, it's almost totally Christian. In fact (though not totally open said), the Arab community here is more in tune with mainstream Israeli politics, than the Orthodox Jews we have here, since they are Arabs, but Christians, and very Orthodox at that, in the best known cases. The Syria, Palestine and Lebanon left behind, and still revered here as the "old land" no longer exists, as these Arab-Brazilians came here to avoid Turkish Ottoman (Muslim) persecution, which ultimately prevailed. But, not insisting so much on local ethnicities and returning to this film, I mist say that in few if any places in the world, can a film like this and others in the Films Section be seen and judged as an Arab film, and not as Muslim culture vs. the Judeo-Christian world Work. And this is truly a film of universal understanding, with national and religious prejudices taking a back seat here. Don't miss it.

姜蘅发现丈夫顾沉与苏晚有染，苏晚怀孕并栽赃她通敌。姜蘅被停职后带队进入C区，在防空洞找到幸存者并带回基地。苏晚逃出基地追杀姜蘅，最终被抓获。姜蘅成功带回B区两百多名幸存者，回到基地。

叶杳雯出狱那天，言之舟来接她。他们是重组家庭的兄妹，曾有过真挚的青春与爱恋。一场意外让叶杳雯替言之舟顶罪，三年牢狱后她患上绝症，而妈妈早已在她入狱期间因车祸离世。面对言之舟迟来的愧疚与弥补，叶杳雯选择平静地拒绝。她回到妈妈的老家，开一间画室，在生命最后时光里努力好好活着。当真相一一揭开，当年的误会与伤痛渐渐释然。这是一段关于爱与遗憾的故事，讲述两个曾经相爱的人最终走向陌路，却在分别时，彼此都有了告别的勇气。